To start I wanted to write a more informal introduction about myself. I realise that graduates are interested in knowing how other artists started out in their first few years.
Much emphasis is place on specialising on a particular discipline as that is how the majority of jobs are defined, lighter, rigger, effects, texture artist etc. In 2003 when I graduated artists were also specialising in their third year but many didn't and being an all rounder was equally important to employers of bigger companies who could place artists where they needed them. Lighting happens to be one of the bigger departments and many an artist will readily admit that they wanted to be an animator but got put in lighting (I've even heard someone say that all lighters are just 'failed animators! NOT true in my case)
Back then graduate jobs were generally 'junior TD' which could be anything and the graduate might then get to work in a multitude of departments before settling on a particular one. I had no desire to specialise. I wanted to make my own films, I wasn't that fussed about working on fancy feature films, I just wanted a creative role that I felt was using my skills. I tried to make my work look different to everyone else's (more memorable) and I was hopeful that would make me stand out when it came to getting a job later down the line.
Work experience completely changed my outlook. In all honesty I hated it, the job/company/London, it didn't fit with who I was, I couldn't imagine this as my future. I learnt a lot and went full steam ahead into my final year with lots of knowledge fresh in my mind. Some months later Framestore unexpectedly offered me a year contract for when I graduated. I had a conversation with the course leader about it after. I wanted to get my final year work done, I didn't really feel I deserved the job as I didn't feel I produced good work. It was a hard decision for me to make as I felt rude turning any job down (although I hadn't exactly applied for it) but I knew it was the right decision.
I had sent my stuff to an 'animation' agent, who was supposed to be helping me get a job. I asked him for some feedback on my showreel. I'd never forget what he said. He said I should work on my character modelling, do some human figures, realistic work, as that was what his clients (companies) were looking for. This was very bad advice. I was never a good character designer and I had no interest in spending ages modelling faces etc. I did follow the advice to some extent, and it was a bit of a waste of my time (this was pre modelling tools like mudbox which makes life a lot easier). His advice was coming from the standpoint of someone who wanted to fill job positions. He did not analyse my skills or attempt to find out where I would fit best within a company. He did not care what was best for me or the company.
I did a short stint freelancing in London and some working from home with a friends new company, nothing to speak of but it kept me afloat for a while. Within a few months of being unemployed I was getting pretty desperate. The large VFX companies were crewed up from the previous graduation, they couldn't even offer me a position tracking or roto. Small companies, the kind I really wanted to work for, didn't want to know, my experience counted for nothing as it wasn't enough. I needed more professional work on my reel, they hired so few artists compared with the big VFX companies and there were far fewer companies back then to apply to.
Eventually my luck did change and later that year I had a friend from Uni who had been working as a lighter on a production (The new captain scarlet TV series 2004-2005) that had recently been turned upside down, new staff, new software and they were looking for a lot of crew. I had the interview and got the job, that was really my big break.
It was new software, but nice and easy to work with, and I really noticed that I could get the work done to a good quality, it was a vast amount of shots but I enjoyed the fast pace of the job and it involved virtually no overtime, and competitive pay. I had done some lighting before but I had never really understood it as an art form. But when you do something a lot you get a feel for it, I was actually enjoying the work, which involved some shading and problem solving as well as just lighting shots. I wasn't really using all my skills from University but I loved working at Pinewood studios and I had found a love of lighting in an all CG world.
Not getting on the masters course was a distant memory, and I was pretty glad to have not continued in education, and felt like I was flourishing in my new found freedom (and money!). I was really enjoying working, I made some great friends but I knew that this production would come to an end after the last episode was made, the show slowly ramped down and we were all feeling the fear of looming unemployment again.
By chance an email came around through a University mailing list about a company in Australia looking for crew for a film no less. I though my chances where pretty much non-existent. I didn't really have the experience they were looking for and I almost didn't apply. But I did, mostly because my partner said 'if you don't try you will never know' (he told me this again very recently). One morning on my way to work, just getting off the tube at Uxbridge, I had a phone call. Could I get to central London for an interview for Midday. It was 9am, I had no CV or showreel on me.. I said yes and after I put the phone down, I told my friend who had been there at the time, and he said, what are you waiting for, go home, get your stuff sorted. I will tell work you can't come in today!
So I did and that was that. Although I was hired pretty much as a junior, unusual for an international company i've been told, after 6 months I was doing the job of a Senior as the role was well suited to my skill set (a mix of technical and artistic). That film went on to win an academy award (Happy Feet 2006) which in turn helped me promote myself when I started my own (small) business. My clients could say that I had worked on a well know feature film and they were confident in my abilities because of it. The truth is that it was a bit of right place right time (luck) and hard work/persistence.
I've come to realise that so much of working is about the people around you, working to everyones advantage, communication, good use of and organisation of talent. Which is why having a mentor can make such a difference, by cultivating skills you may not get the opportunity to master through other training methods and offering perspective. I'll write another post with more on this subject later.
I'd like to end this post by thanking all the talented people I have learnt from over the years. I'm hoping they know who they are and that I'm a better me because of them.
